Month: April 2024

Filmmaker Karen Lang (TOLLERMANIA)

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TOLLERMANIA, 27min,. Canada
Directed by Karen Lang
In this film, Ukrainian-Canadian ceramic artist, Natalia Laluq, interprets the life and work of Canadian world champion figure skater and artist, Toller Cranston, through a stop-motion installation of individually crafted ceramic plates. The art project itself was almost 2 years in the making. The show took place at Toller Cranston’s studio in Mexico in 2014, the year before Toller died. This documentary shows the work from initial concept through process and completion. It is one artist interpretation of another artist’s work and life.

Get to know the filmmaker:

1. What motivated you to make this film?
There is brilliance in this artistic interpretation of sport. How the talents of a visual and ceramic artist can bring to life an actual skating performance of a world champion figure skater, is genius of mind and artistic talent. It is a project that had to be brought to a wider audience.

2. From the idea to the finished product, how long did it take for you to make this film?
The art show and installation happened in 2014. Toller Cranston, the object of this interpretive art installation died the following year. It wasn’t until 2020 that the idea of bringing the show to a larger audience began to germinate. Approximately 3 years were spent pulling the materials, film clips, interviews, etc together to make the film.

3. How would you describe your film in two words!?
Two artists.

4. What was the biggest obstacle you faced in completing this film?
Trying to do justice to both artists was challenging. This was one artist’s interpretation of another artist’s life and work. Toller was a very famous Canadian skater, and a talented artist with a specific style and flare. Natalia, a Ukrainian Canadian immigrant, knew virtually nothing about Toller Cranston when she set out to do this project. She was able to creatively interpret and create a body of work that perfectly defined and celebrated Toller in his creative world. I like to think this film captures both of them as equally talented artists in their own right. This is a film that showcases Natalia’s talents within the context of Toller, a brilliant athlete and artist.

5. What were your initial reactions when watching the audience talking about your film in the feedback video?
I was struck by their specific observations and insight, and their appreciation of the talents of both Natalia and Toller. It was nice to know they actually watched it!!:)

6. When did you realize that you wanted to make films?
I took a film making course about 7 years ago, and fell in love with the creative possibilities that film making provides. It gives meaning and permanence to events and stories in our lives. Creating the story,

7. What film have you seen the most in your life?
That is too hard to choose:)

8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?
The feedback is by far the most helpful element to this festival experience, and it would be really incredible if more festivals did that.

9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
The platform makes it very easy to submit to festivals.

10. What is your favorite meal?
Tostados, served on a ceramic plate.

11. What is next for you? A new film?
I am going to be working with Toller Cranston’s sister, Philippa Baran, who has recently published a book about her brother – she is putting her talents and energy towards keeping Toller’s legacy alive. And of course, there are always adventures and travel that find their way into a film.

Submit to the WILDsound Film Festival:

Filmmaker Isaiah Matthew Griggs (ASHES – CHAPTER 0)

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ASHES – CHAPTER 0, 4min., USA
Directed by Isaiah Matthew Griggs
In a mysterious facility, David, a captive, engineers his escape by tricking a guard. He evades pursuit through the building, discovering a lab and learning about his metahuman status. Outside the facility, he is captured by guards who mention his destructive potential. David wakes up in the lab, where his powers intensify and cause a powerful explosion. The short ends with David metaphysically floating in space, undergoing a transformative experience before unleashing a surge of energy.

https://twitter.com/genus_art
https://www.instagram.com/genus.entertainment/

Get to know the filmmaker:

1. What motivated you to make this film?
My goal for Ashes is to fully produce it into an animated series at some point. I have A general outline for the series’ story.

2. From the idea to the finished product, how long did it take for you to make this film?
Well the idea for Ashes has been around in my google docs and has been featured in miscellaneous drawings and animations I’ve made for years. That being said, a proper episode or ‘chapter’, did not start getting made until 2022 and took a little over a year to finish with some help.

3. How would you describe your film in two words!?
Very explosive

4. What was the biggest obstacle you faced in completing this film?
Probably compromising quality in favor of completing the film on time.

5. What were your initial reactions when watching the audience talking about your film in the feedback video?
I was quite glad they seemed to enjoy the anime-inspired action. I also like that one person pointed out that it feels like there’s more to the story, and believe me, there is definitely more.

6. When did you realize that you wanted to make films?
I’ve always liked to make. It honestly almost goes as far back as I can remember.

7. What film have you seen the most in your life?
Can’t say, I’m not sure. But I’ve definitely seen the Raimi Trilogy for Spider-Man a good amount, I’ve also watched “The Road to El Dorado” a lot on VHS.

8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?
Nothing really comes to mind, I’m just glad people get to see the work I’ve made.

9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
Pretty good, it’s fairly straight forward.

10. What is your favorite meal?
lol pizza maybe

11. What is next for you? A new film?
I plan on making a follow up to this Ashes short.

Submit to the Chicago Feedback Film Festival:

Filmmaker Lisa Drupsteen (LIKE MOTHER)

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LIKE MOTHER, 8min., Canada
Directed by Lisa Drupsteen
A young woman navigates her romantic life while trying her best to dodge her mother’s demons. Will she have the strength to break the cycle of manipulation? Or simply fall victim to the old adage: “Like Mother, Like Daughter”…

https://www.instagram.com/lisa_drupsteen

Get to know the filmmaker:

1. What motivated you to make this film?

A short story I wrote while a student at The Second City Film School (formally the Harold Ramis Film School) featured a zany, narcissistic mother who named pets after loved ones. My peers were eager to learn more about this eccentric lady. I knew I had to explore the concept more deeply and bring it to life on the screen one day.

2. From the idea to the finished product, how long did it take for you to make this film?

The adaptation took approximately 4 months. Could have been 2 weeks if I stopped putting it on the shelf to marinate…

3. How would you describe your film in two words!?

Narcissistic mother!

4. What was the biggest obstacle you faced in completing this film?

Getting out of my own way. My previous project was higher budget and had more moving parts- I kept feeling anxious that this project wasn’t “enough”. Once I overcame those thoughts, the creativity could flow and I’m grateful I didn’t turn my back on it. Sometimes less is more!

5. What were your initial reactions when watching the audience talking about your film in the feedback video?

I was anxiously excited to press that play button! It has been a while since I’ve gotten public feedback on one of my pieces. It was extremely validating to hear the feedback and positive takeaways. I had a big smile plastered on my face the whole time.

6. When did you realize that you wanted to make films?

When Covid hit and I could no longer perform live or write for the stage.

7. What film have you seen the most in your life?

Hmmm. Either Mamma Mia, Singing in the Rain, or Bridesmaids. I’m a sucker for feel-good musicals/comedies.

8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?

I’d love some more critical feedback (constructive of course)! This audience was way too nice to me.

9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?

It’s been great! Although discovering the platform sure has put a dent in my wallet…so many amazing festivals, so little time.

10. What is your favorite meal?

My honey’s reverse-sear steak. Yum.

11. What is next for you? A new film?

I’m currently working on polishing up my pilot script for a comedy series entitled “Triple Twenty” about a lost young woman who joins a C-division dart league in rural Canada.

Submit to the Chicago FEEDBACK Film Festival

Filmmaker Brenton McNally (HALCYON)

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HALCYON, 7min,. Australia
Directed by Brenton McNally
David looks for his missing wife but struggles to get out of his own way.

Get to know the filmmaker:

1. What motivated you to make this film?
Our film is based on an original story concept by my co-writer Nichola Christie. She was motivated by exploring the simultaneous beauty and heartache of time passing. The film explores how those we love leave impressions on us that stay and mould us beyond time. This film was shot with vintage 70s lenses and blends horror elements with a personal, dream-like drama film.

2. From the idea to the finished product, how long did it take for you to make this film?

The film was completed, from conception, in less than 48 hours. It was in competition at the 48-hour film challenge in our city – Brisbane, Australia.

3. How would you describe your film in two words!?

Melancholic mystery

4. What was the biggest obstacle you faced in completing this film?

Challenging ourselves to such a short amount of time to conceive and complete the film meant we needed to be deliberate with all of our choices. Writing in such a way as to take advantage of available actors and locations as well as shooting in an economical fashion were essential to the success of the film.

5. What were your initial reactions when watching the audience talking about your film in the feedback video?

We were very pleased with the reactions in our feedback video. With a complicated and mysterious plot, it was great to know that the film was understood and received the way we intended.

6. When did you realize that you wanted to make films?

As with most people, I have had a life-long interest in films. I mostly thought it was not feasible to make something worth watching until smartphones made it so easy to capture the images in my head. Making films with my kids showed me just how feasible all of it was and thus started the trajectory we are on now.

7. What film have you seen the most in your life?

It would likely be a James Cameron film – Terminator 2 or True lies, probably. They were on repeat when I was a kid – taped off the TV when that was a thing.

8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?

I wouldn’t suggest any changes. I have enjoyed the experience so far.

9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?

I find FilmFreeway very easy to use. It is a great concept.

10. What is your favorite meal?

Anything made by my partner – she is an excellent and creative cook.

11. What is next for you? A new film?

Yes, we have a few projects in the works this year. Our next film will likely continue our theme of time and heartache but this time with a down-to-earth, personal, science fiction lens.

Submit to the Chicago FEEDBACK Film Festival:

Filmmakers Kamil Keenan, Agnieszka Żaglewska (THE CAPSULE)

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THE CAPSULE, 20min,. Poland
Directed by Kamil Keenan, Agnieszka Żaglewska
Two astronauts in a space capsule realize that they won’t have enough oxygen until help arrives. In this extreme situation, they suddenly have to face the ultimate questions. Accompanying the characters on their final journey, viewers begin to wonder what their answers would be.

http://kamilkeenan.com/
https://www.instagram.com/kamilkeenan

Get to know the filmmakers:

1. What motivated you to make this film?
Kamil: My uncle had an accident while working underground as a miner and he was stuck for around 8h with no way out nor possibilities to move.
This made me think that so many thoughts must go through your head when you are facing your death so I adapted this situation to a script with Aga’s talent for writing.
Aga: Kamil told me about his idea and as soon as I heard it I knew I wanted to write this script, it sounded very compelling. Dealing with the idea of my own mortality has always been on my mind, so I knew I could express a lot of my own struggles in the film.

2. From the idea to the finished product, how long did it take for you to make this film?
It was about two years from the moment I had the idea to the finished product.

3. How would you describe your film in two words!?
Existential dread.

4. What was the biggest obstacle you faced in completing this film?
We didn’t have a producer, nor any budget.
It was a passion project for all of us, and making a sci-fi film with no budget is not easy.

5. What were your initial reactions when watching the audience talking about your film in the feedback video?
So far we’ve only had feedback about the film from family and friends, so it was amazing to hear strangers’ thoughts on it.
It’s mind blowing that people on another continent have even seen our film, let alone enjoyed it!
We are so happy that audiences find our film compelling. We want to make films for this very reason: to communicate through art.

6. When did you realize that you wanted to make films?
When we were teenagers.

7. What film have you seen the most in your life?
Kamil: I love psychological movies and thrillers so for me it is ‘The Prestige (2006)’.
Aga: When I was little I was obsessed with this obscure kids’ film called “Rock-a-Doodle”, and this is definitely the film I’ve seen the most.
Other than that it’s probably “It’s a wonderful life”.

8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?
Our dream is to watch our film with an audience in a cinema and to be able to talk about it afterwards, so we would love to come to a film festival in person.

9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
It’s great as you can upload the project once and share it with various (even famous) festivals around the globe.

10. What is your favorite meal?
Aga: My grandparents used to live in Switzerland and introduced me to my favorite meal, which is fondue.
Kamil: I love asian cousine – butter chicken for me.

11. What is next for you? A new film?
Kamil: Yes, I will try to make a full-length movie soon.
Aga: I am currently studying directing in Film School in Katowice, Poland, and I’m working on two short films at the moment.

Submit to the Chicago Feedback Film Festival:

Filmmaker Zach Marks (A VALLEY REBORN)

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A VALLEY REBORN, 11min., USA
Directed by Zach Marks
“A Valley Reborn” is a short documentary that highlights the careful restoration of a portion of the San Miguel River, situated in the historic town of Telluride, Colorado. Led by the Environmental Protection Agency (EPA) in partnership with the United States Forest Service (USFS), this project aims to remediate the adverse effects of a century of mining activity, which left the riverbed laden with heavy metals such as lead and arsenic. This film captures the entire restoration process, from initial assessment to final cleanup. The film features interviews with experts, community members, and stakeholders involved in the project. By addressing environmental challenges and promoting sustainable practices, we can safeguard water quality, preserve ecosystems, and educate future generations.

Get to know the filmmaker:

1. What motivated you to make this film?
I wanted to make this film after visiting Telluride in the summer of 2020. guided by my good friend, Carlo Pine, I was enthralled by the beauty of the valley and I wanted to do everything possible to spend as much time there. Then in 2022 when the EPA announced the plan to start this restoration project I quickly began to research and plan for A Valley Reborn. Learning about the passion the community had for this land, it was an easy choice to move to Telluride for the summer and start filming. Camping outside of town and filming this project was an unforgettable experience for my team and I.

2. From the idea to the finished product, how long did it take for you to make this film?
It took us 1.5 years.

3. How would you describe your film in two words!?
Breathtaking and important

4. What was the biggest obstacle you faced in completing this film?
We lost all of our b-roll from summer 2022 due to a harddrive overheating and corrupting itself. So we had to go back in summer 2023 to film again.

5. What were your initial reactions when watching the audience talking about your film in the feedback video?
I was very happy watching the audience reactions, they were what I expected.

6. When did you realize that you wanted to make films?
I realized I wanted to make films at a young age and have been making short films my whole life. It was in college that I realized my passion was environmental films.

7. What film have you seen the most in your life?
Parasite

8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?
More interaction with other filmmakers!

9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
It has been very easy to submit.

11. What is next for you? A new film?
I am in the research and development for a new film about kelp forests off the coast of Los Angeles.

Submit to the Toronto Documentary Festival

Filmmaker Balca Elif Sagmanli (DREAMER)

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DREAMER, 10min,. USA
Directed by Balca Elif Sagmanli
In an effort to fall asleep, a young woman, Audrey, struggles through the entrapment of a dream-like state where she encounters the various challenges of time past, time present, and time future.

https://instagram.com/dreamer2023shortfilm

Get to know the filmmaker:

1. What motivated you to make this film?

The motivation behind the making of DREAMER was my quest to explore the themes of dreams/nightmares, sleep, isolation/absence, memories/fantasies, time, cyclical experiences, and out-of-this world experimental imagery/concepts. On a certain level, it is a personal film that encompasses self-exploration and my fascination for time and presence.

2. From the idea to the finished product, how long did it take for you to make this film?

The initial idea of this film stretches back to a short film that I made with my best friend in high school. This concept has been in the back of my mind for as long as I can remember. In undergrad, I wrote and shot a different version of DREAMER. I never ended up finishing it because I knew that it was not the version that I aspired to share with the world. This all led to DREAMER becoming my thesis film at UCLA. I do wonder if I will ever continue to revisit these concepts and/or make a different version of it in the future.

3. How would you describe your film in two words!?

Cyclical dreamstate.

4. What was the biggest obstacle you faced in completing this film?

The biggest obstacle that I faced in completing this film was my actually my cinematography research for my thesis, which was the exploration of how 35mm analog film works together with the digital 5K Full Format that I used. It was an interesting editing process as well because I had to decide when, why and how to use both of the formats.

The cinematography research explored the communication of both analog and digital formats in order to figure out if they would communicate different intentions and/or can be integrated organically. The film is a result of this narrative and technical integration. The intention of this film is to evoke dream-like, surreal, and calming emotions by creating a psychedelic and ethereal experience. Along with the film’s premise, the technical integration of two different formats of cameras allows this film to display its unique style and sensibility, and distinct aesthetic.

5. What were your initial reactions when watching the audience talking about your film in the feedback video?

It was extremely helpful to hear feedback from an audience that had never seen, or heard of my film before. I think that more festivals should try to implement this feature because it is rare to hear direct audience feedback outside of film schools.

Balca Elif Sağmanlı

6. When did you realize that you wanted to make films?

This will sound a bit cliché, but I have loved watching films ever since I was a kid. In middle school, I told my aunt that I wanted to make films (even though I had no idea what this meant yet). In high school, I took a film class, and that is when I knew that I had to continue making films.

7. What film have you seen the most in your life?

This is such an interesting question! I think that I have seen Mean Girls the most. It is a bit of a cult classic film amongst my friends, and we watched it a lot in middle school/high school.

8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?

I think that providing the opportunity of an interview is extremely helpful for student filmmakers, and more festivals should implement interviews. It would be great if the filmmakers could meet in-person at the festival to watch each other’s films.

9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?

It has been a seamless experience so far.

10. What is your favorite meal?

My favorite meal is a dish from Turkey called mantı (Turkish dumplings). It is the first thing that I eat when I am home in Istanbul, Turkey.

11. What is next for you? A new film?

I am currently working on writing another short experimental film, and making a guitar centric/experimental music album (since I enjoyed playing guitar on the soundtrack of DREAMER).

Filmmaker Yiou Wang (WATER ALWAYS GOES WHERE IT WANTS TO GO)

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WATER ALWAYS GOES WHERE IT WANTS TO GO, 5min., Romania
Directed by Yiou Wang
“Water Always Goes Where It Wants to Go” is an ecoperformance CG art video of the body in synergy with the storied landscape of water. How can we go back to something we already have? We are born out of water, and water constitutes our body, our territories, and our myths. Mapping water through the body, in between transitory space for waters, the short film investigates the relationship between the self, its embodied and somatic dialogues, and these physical and symbolic waters, questioning how we can return to our first water, the common body.

http://yiouwang.org/
https://twitter.com/YiouWang1
https://www.instagram.com/yiou_wang_/

Get to know the filmmaker:

What motivated you to make this film?
This short film is the natural product of a very rich and interesting conversation Alina and I have. Many of our ideas clicked and crosspollinated. Alina is an actress and performance artist, who expresses through her body; I am a visual artist who expresses through image and form. We are both empaths who share an intuitive, embodied connection to a larger, more-than-human world. Alina has been introducing to the world the method of ecoperformance for many years, where she embodies a forest, a river, a crow, or an ancient mythic being and shapeshifts in synergy with the consciousness of the embodied. We began to focus on water, as water is our first body – the amniotic fluid is where we come from, and our common body. In many precolonial cultures and epistemologies, the land is often also corporeal. In Tuva, the mountain peak is the heart of mountain ranges, where rivers are the aortas, the soil’s blood vessels.

Alina and I wanted to create a branch of artworks embodying water combining her ecoperformance and my virtual filmmaking. She performs embodying water from our animistic perspective, and I do the motion capture, transferring her movement to the avatars of water. The scenography is designed with a root in theatre arts, where I put my 3D scanned natural environment pieces in the scene reminiscent of stage.

From the idea to the finished product, how long did it take for you to make this film?
It is hard to pinpoint the start of this project, since Alina and I have been communicating for a year and our minds grew into this rich constellation. Since the beginning, we agreed to draft some proposals to apply for certain live performance art grants. After that, we thought why not make a film to further illustrate our proposal? And the actual production and editing of this film was about three weeks. But it’s hard to say it’s only three weeks, because a lot of the models I put into the environment were from my longtime habit of 3D scanning in my forest hikes.

How would you describe your film in two words!?
Breathing, alive

What was the biggest obstacle you faced in completing this film?
I can’t recall. I’m sure there were wtf moments but my trait is that I hardly remember the hardships already dealt with, since my ecstasy during creative work is so great that it floods all.

What were your initial reactions when watching the audience talking about your film in the feedback video?
I’m really glad, fascinated, grateful to the chance to see audience reactions because I’m always interested in communicating with audience. I express certain message and affect, but I always strive to create works that are open-ended, and I’m really happy that different people gave different interpretation, sometimes not entirely our intention but eye-opening.

When did you realize that you wanted to make films?
I grew up drawing and painting surreal visions of alternate worlds, so I lean constructive. From a painting background, I construct every element of the full picture out of my imagination. I have long been fascinated by films and visual effects as mediums of surreal storytelling, and I would spend hours obsessed with mentally dissecting the scene, avatars, lighting, camera motion, in the joint space between art and tech.

I want to make painterly films, in techno-artistic craft and in sensoriality, to express humans’ connection to nonhumans and to a larger world, which is not all “I love nature” kind of romantic, but awake, sensitive, primordial, beautiful, yet sometimes dangerous. The space we inhabit is full of life, and in film, nothing is empty; every space of every frame is full. There is a world out there. Characters and stories happen naturally in this world.

What film have you seen the most in your life?
My favorite films lean ethnosurrealist fantasy drama, a merging between ethnography and surrealism, with roots in mythology and folklore. You Won’t Be Alone (2022) by Goran Stolevski and Stone Turtle (2022) by Ming Jin Woo touched me so deeply and are in line with what I create.

The Pig, the Snake and the Pigeon (2023) by Wong Ching-po. Life of Pi (2012) by Ang Lee. The Great Buddha+ (2017) by Huang Hsin-yao. Almost all films by Apichatpong. Spring, Summer, Fall, Winter and Spring (2003) by Kim Ki-duk. All these are deep wells of inspiration and artistry that I can watch a million times and can still gain something every time.

My favorite short is Birdsong (2022) by Omi Zola Gupta.

Recently, I also see a huge lot of Asian, Indigenous and African horror films.

What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?
Adding IRL screening followed by creative mingling events would be awesome.

What is your favorite meal?
I don’t have a particular favorite, anything warm would be a nice meal to me.

What is next for you? A new film?
Great question. Alina and I will further make our water-related work into a mocap live performance with real-time projection and a VR film. In both, she will be the choreographer and performer, and I will be the VR director, and the art director and live projection animation controller. We will push the boundary of performance arts to merge with digital technology and surreal imaging.

Filmmaker Yazan Al-Hajari (ETERNAL LINES: William Shakespeare’s Verse in Music and Motion)

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ETERNAL LINES: William Shakespeare’s Verse in Music and Motion., 5min., USA
Directed by Yazan Al-Hajari
Eternal Lines: William Shakespeare’s Verse in Motion and Music” is the second part of a series where I delve into Shakespeare’s vast Canon, handpicking songs and sonnets that resonate deeply with me. I’ve woven these pieces into a narrative that, while personal in selection, unveils a connected story, reflecting the universal themes and emotions Shakespeare so masterfully depicted. This project is a heartfelt tribute to the timeless beauty of Shakespeare’s poetry, crafted with deep admiration for his poetic genius. While delving into Shakespeare’s poetry, my goal was not only to breathe new life into these classic texts but also to capture and reflect my own emotional journey as I navigated through the myriad of themes and expressions found in his work. Through a fusion of original music, captivating AI and real footage and visuals, and immersive sound design, I’ve endeavored to present Shakespeare’s poetry in a contemporary light, offering a fresh perspective that honors the essence of his work while inviting modern audiences to experience its magic anew.

https://yazanalhajari.com/
https://www.facebook.com/profile.php?id=100063482441871
https://www.instagram.com/yazanhajari/

Get to know the filmmaker:

1. What motivated you to make this film?

My drive to create this film sprung from the enchanting layers within Shakespeare’s poetry—their timeless beauty and the myriad interpretations they invite. Each sonnet, with its rhythmic musicality and vivid imagery, became a cornerstone for the film’s narrative and aesthetics. This project was more than an academic endeavor; it was a personal voyage into the heart of these verses, exploring their resonance within my own life and experiences.

The process was two-fold: a devoted study of Shakespeare’s sonnets to honor their original spirit, coupled with a deeply personal journey to discover their significance to me. This wasn’t just about bringing academic analysis to life; it was about letting these verses breathe and speak through my creative lens, intertwining Shakespeare’s insights with my own. In essence, this film was fueled by a blend of fidelity to Shakespeare’s work and my introspective engagement with his poetry, striving to create a visual experience that is as rich and multifaceted as the sonnets themselves.

2. From the idea to the finished product, how long did it take for you to make this film?

Allow me to tell you a short story I once came across: A young artist presented his work to a seasoned master, who was impressed by the piece. Proudly, the young artist mentioned it took only two days to complete. The master then inquired about the artist’s age, to which he responded, “Twenty-five.” The master insightfully remarked, “Then, it took you 25 years to create this work” This narrative profoundly resonates with me, highlighting that the journey of artistic creation is imbued with one’s entire life experiences, learnings, and explorations. The actual act of creating might unfold over days, months, or even years, but the true essence of the work embodies a lifetime of curiosity, inspiration, and the relentless pursuit of meaning. In the context of this project, the preparatory phase involved meticulous research into Shakespeare’s verse and spanned only two months. So, to give an actual answer: two months—and this way, I avoid telling you my age!

3. How would you describe your film in two words!?

“Shakespeare’s Synesthesia”

4. What was the biggest obstacle you faced in completing this film?

Navigating the profound depths and timeless nature of Shakespeare’s poetry presented the most significant challenge in the creation of this film. The responsibility to honor such rich, immersive, and multifaceted verses was one I embraced with great care and reverence. The complexity of the poems, with their myriad interpretations and controversial themes, demanded a thorough understanding and deep study.

The process involved an immersive exploration of the imagery and musicality inherent in the poetry, seeking thematic connections that resonated on a personal level while remaining true to the essence of Shakespeare’s work. This initial phase of rigorous study and contemplation was crucial, yet it was equally important to then set aside this analytical approach, allowing for a more intuitive and personal engagement with the poems.

Visualizing Shakespeare’s verses meant finding a balance between scholarly understanding and personal interpretation, crafting a visual narrative that could, in some way, live up to the original’s richness and complexity. The biggest obstacle, therefore, was not just the interpretation of the poetry itself but translating its multifaceted beauty into a visual medium that felt authentic and convincing, even if only to satisfy my own artistic standards at that moment.

5. What were your initial reactions when watching the audience talking about your film in the feedback video?

Watching the audience feedback was deeply touching and affirming. The positive responses and the connection the film made with viewers filled me with gratitude. It was a reminder of the power of art to resonate and connect. Additionally, the experience heightened my appreciation for the festival’s role in promoting diverse creative expressions and the organizers’ commitment to celebrating culture and the arts. Their efforts in creating a platform for artists are truly impactful, and I’m thankful for the opportunity to share my work and see its effect on the audience.

6. When did you realize that you wanted to make films?

My journey to filmmaking was unexpected. Rooted in music and the visual arts, I never initially saw myself as a filmmaker. Early short film projects in college were just personal explorations. It was only recently that I recognized filmmaking’s potential to integrate my diverse artistic interests into one medium. This realization came from a need to express myself in a way that combined music, visual storytelling, and narrative in a collective, cinematic experience. This epiphany wasn’t a sudden decision but a natural progression from my background in music and the arts, leading me to embrace filmmaking as the ultimate canvas for my creative expression.

7. What film have you seen the most in your life?

I often find myself rewatching films I really love, diving back into their worlds repeatedly. Any classics from Hitchcock to Kubrick, and Some of my go-to’s include “The Pianist” by Roman Polanski, “Amadeus” by Milos Forman, and “The Matrix.” These films just have a way of pulling me back in again and again. and anything Shakespeare.

8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?

I think you guys are doing great already, but this is a great question, I can still provide an answer.

Enhancing networking, feedback sessions, and visibility are crucial for filmmakers, who often invest years into their projects with limited recognition. Offering platforms for exposure and interaction, along with constructive criticism from peers and audiences, supports their hard work. Recognition through awards and grants, even symbolic, can be highly motivating. Emphasizing diversity in creative and intellectual approaches enriches the festival and acknowledges the varied efforts and perspectives in filmmaking. These elements are essential in valuing the dedication behind every film.

9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?

Using Film Freeway for the submission process was absolutely great. It’s such a smooth and efficient platform, which feels revolutionary compared to the days of mailing physical tapes. It’s great to see the festival leveraging these modern tools to streamline the experience for filmmakers.“

10. What is your favorite meal?

Spaghetti, but honestly, it’s best served with a side of a great movie. Nothing beats that combo for me!

11. What is next for you? A new film?

Next up, I’m excited to continue with ‘Eternal Lines of Shakespeare,’ this time drawing from ‘Romeo and Juliet.’ In addition, I’m working on several musical orchestral pieces. Plus, I’m nearing completion on a short documentary series called ‘Synchrony.’ It delves into the intricate relationship between music and films, charting the history and impact of soundtracks and scores from cinema’s inception to today

Filmmaker Alijah Johnson (CIRCLES)

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CIRCLES, 6min., USA
Directed by Alijah Johnson
“Circles” is a visually stunning short film that takes the audience on a symbolic journey of personal transformation. The protagonist undergoes a profound metamorphosis, depicted through allegorical scenes representing different stages of self-discovery and growth. “Circles” explores the intricate dance between self-discovery, vulnerability, determination, sacrifice, and artistic power. Through its rich symbolism and powerful visuals, the film invites viewers to reflect on their own journeys of transformation and the circles they navigate in becoming their true selves.

https://www.instagram.com/alijah.aj/?hl=en

https://www.wildsound.ca/videos/circles-review

Get to know the filmmaker:

1. What motivated you to make this film?

Well, the inspiration behind “Circles ” stemmed from a deeply personal experience I went through a breakup with my ex-girlfriend. Instead of letting that experience crush me, I decided to channel that energy into something transformative. It was like becoming an alchemist, transmuting pain into creative fuel. As I delved deeper into exploring energies and self-discovery, I realized the power we have over our own filters. I believe we create filters we have a process of interpreting information that we’re not fully aware of and become aware of we choose to let in and how we process it. Which takes a lot of self exploration to become aware of. This journey of self-awareness and transformation became the driving force behind the film. I wanted to emerge from that dark phase as a completely new person, (dark night of the soul double entendre for the mountain scene) and this film captures that journey of metamorphosis. This film was like medication for me, especially during a period of depression and profound personal transformation. Going through a metamorphosis is very uncomfortable, much like many processes in nature where growth is necessary. For instance, plants breaking through soil or butterfly coming out a cocoon. It’s not pretty or comforting, but it’s necessary for growth. A lot was Inspired by Dante’s Inferno, the theme of circles reflects the idea that we can get stuck in one perspective or state of consciousness, trapped by our irreplaceable filters. This film served as a reminder that exploring new perspectives is essential for personal growth, even if it means destroying old aspects of ourselves. The process of making the film was just as therapeutic as the final product. It taught me that I have the power to bring my visions to life and that the journey as an artist brining things from the unseen world that you only have access to, to reality is challenging but rewarding. Ultimately, “Circles” became a message to myself, guiding me through my own transformation and helping me learn valuable lessons not only when I was making it but also for myself in the future.

2. From the idea to the finished product, how long did it take for you to make this film?

it took me 2 years

3. How would you describe your film in two words!?

Multilayered metaphor

4. What was the biggest obstacle you faced in completing this film?

Getting people to understand what I was making. One of the biggest obstacles in creating the film was integrating personal elements into the narrative. I deliberately infused the film with aspects of my own life, like little “landmines,” strategically placed for curious viewers to discover. These personal touches serve as hidden gems or Easter eggs for those who delve deeper into my story. Like me being a firefighter and paramedic, incorporating these aspects of my identity into the film was both challenging and rewarding. It required careful thought to ensure they seamlessly connected with the themes of the films. These connections between unrelated elements often led to moments of artistic epiphany, and when these different ideas merged they created something truly unique and fulfilling.

5. What were your initial reactions when watching the audience talking about your film in the feedback video?

I was very surprised because this film was so personal to me and it’s amazing to see that people are able to understand what it’s about because it so abstract, I was going through something very hard to articulate with words, im so grateful to create this as my first short film.

6. When did you realize that you wanted to make films?

Symbols are not compelling than words, I think one of the hardest things about having a conversation is that you can only use words.

7. What film have you seen the most in your life?

500 days of summer.

I can watch that movie every couple of months or years especially after every breakup or failed talking stage and come up with a new interpretation about relationships it interesting to see my brain notice and think of new things when I’m watching that movie. The last time I watched it I understood that you appear as a hopeless romantic to the wrong person.

8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?

I think what you guys did was great the the audience feedback video was very good because it was nice to see other peoples interpretation of it, and again it was very fulfilling that my ideas didn’t fall on deaf ears.

9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?

It was very easy process.

10. What is your favorite meal?

I would say pizza

11. What is next for you? A new film?

Right now I’m working on a fashion film for a hair show in August that I’m going to be a model in also. The theme is pollution and I found a new word that I’m drawn to which is eclectic. I have a lot of interest and wear many hats and I learn that a lot of things from different skills bleed over. Kinda like in the karate kid with wax on wax off. And it’s just coming with creating a visuals that conveys eclectic. And I think people might disagree but pollution is a byproduct of something that is helping us survive in this world. And I think stating that unpopular is what art is about controversy not to provoke anger but by presenting things with a new prescriptive.